Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Hungary and from Portland.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Paris.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Techniques to the dance kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Max Romeo. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Ronan,
Cal Tjader,
Don Cherry,
JFA,
Clear Light,
Amon Düül,
Quando Quango,
48th St. Collective,
Monolake,
Bobby Hutcherson,
Bronski Beat,
The Fuzztones,
New York Dolls,
Brass Construction,
Monks,
Graham Central Station,
Essential Logic,
Juan Atkins,
ABBA,
The Skatalites,
Byron Stingily,
Second Layer,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
Stiv Bators,
The United States of America,
Röyhkä ja Rättö ja Lehtisalo,
James Chance & The Contortions,
Gong,
Sex Pistols,
Bob Dylan,
L. Decosne,
Quadrant,
Talk Talk,
The Zeros,
R.M.O.,
Alphaville,
Oppenheimer Analysis,
Bootsy's Rubber Band,
The Velvet Underground,
Eric B and Rakim,
Sun Ra Arkestra,
Moss Icon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Detroit Cobras,
Electric Prunes,
Nirvana,
Vaughan Mason & Crew,
The Buckinghams,
De La Soul & Jungle Brothers,
Rufus Thomas,
Pylon,
Tim Buckley,
Visionaries,LMNO, T- Love & Iriscience,
Carl Craig,
Rakim,
Qualms,
Minny Pops,
The Index,
Arthur Verocai,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.